Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association – Nashville – 2019 March 21 – 23, 2019 • Belmont University • Nashville Proceedings of the 2019 International Summit 1 Contents Academic Papers Presented at the 2019 International Summit of the Music & Entertainment Industry Educators Association March 21-23, 2019 March 22, 2019 4 Local Minimum Content Requirements on Commercial 44 Teaching Ethics in the Music Industry Classroom Radio: An Australian Case Study (abstract only, full Christopher M. Reali, Ramapo College of New Jersey article available in the MEIEA Journal https://doi. 51 Searching for Sophia in Music Production: A Comparative org/10.25101/18.6) Study of the Swedish Music Industry’s Impact on Future Chrissie Vincent, Australian College of the Arts Higher Education in Music (abstract only) 5 “You’re Tearing Me Apart”: Deconstructing Mise-en-Scène Jan-Olof Gullö, Royal College of Music (Sweden) in Rebel Without A Cause Hans Gardemar, Royal College of Music (Sweden) Jason Lee Guthrie, Samford University 52 A Strong Wind Could Blow It Over: Understanding 13 Experiential Learning: Music Industry Simulation as a the Fragile State of Music Blockchain Development Pedagogical Approach in Contrast to the Antifragile State of Blockchain Tech Jerry Brindisi, Columbia College Chicago Generally (abstract only) 23 Drinking from Olivia Pope’s Wine Glass: Fan George Howard, Berklee College of Music Communities and the Impact of Parasocial Relationships 54 Immersive Experiences: The Future of Live Music and VR on Consumption Behaviors (abstract only) (abstract only) Morgan M. Bryant, Belmont University Jeff Apruzzese, Drexel University Janée Burkhalter, St. Joseph’s University 55 The Factors in the Artist-Label Relationship That Influence Natalie Wood, St. Joseph’s University Creative and Commercial Success: An Initial Exploration 25 The Asian Music Industry Rob Cannon, Australian Institute of Music Don Cusic, Belmont University 62 An Artist Management Practicum: Teaching Artist 28 The Viability of the American Federation of Musicians in Management in the Twenty-First Century (abstract only, the 21st Century full article available in the MEIEA Journal https://doi. Dick Weissman, University of Denver, University of org/10.25101/19.5) Colorado Denver (Emeritus) Terry Tompkins, Hofstra University 33 Key Learnings from an International Social 63 Kahoot!: A Tool in the Effective Teacher’s Toolbox Entrepreneurship Collaboration: Songs to Change Our (abstract only) World (abstract only, full article available in the MEIEA Eric Holt, Belmont University Journal https://doi.org/10.25101/18.2) Amy Bryson Smith, Belmont University Monika Herzig, Indiana University 65 Industry-Based Popular Music Education: India, College Kristina Kelman, Queensland University of Technology Rock Festivals, and Real-World Learning (abstract only, Andrew Krikun, Bergen Community College full article available in the MEIEA Journal https://doi. Stephen Ralph Matthews, University of Auckland org/10.25101/19.3) Yanto Browning, Queensland University of Technology Kristina Kelman, Queensland University of Technology 36 Social Entrepreneurship as an Element of the Inbound David Cashman, Southern Cross University Marketing Model for Musicians (abstract only) 67 Utilizing Active Learning and Backwards Design to Hal Weary, California State University, Dominguez Hills Articulate Learning Outcomes and Maximize Student 37 Did you hear “7 Rings” or “My Favorite Things”? Ariana Learning: An Integrating Model of Formative and Grande’s Spin on a Classic Rodgers and Hammerstein Summative Assessment (abstract only) Song Could Have Lasting Impact on an Iconic Brand and Joseph Miglio, Berklee College of Music the Bottom Line 69 “Second Verse, Same as the First?” An Examination of the Melissa Wald, Middle Tennessee State University Evolution of Entertainment Management Academics 43 Streaming Mechanicals and the War on Spotify (abstract Andy Gillentine, University of South Carolina only) Armen Shaomian, University of South Carolina Don Gorder, Berklee College of Music 2 Music & Entertainment Industry Educators Association 77 Redefining the Role of the Sound Engineer: Applying 120 Technological Disruption and Music Copyright (abstract the Theories of Cage, Schafer, and Lomax Towards only) Establishing a Critical Cultural Approach to Sound Victoriano Darias, Berklee College of Music (Valencia) Engineering 121 Teaching Digital Marketing and Social Media Strategy for Jonathan P. Pluskota, University of Southern Mississippi the Entertainment Industry (abstract only) 91 Black Box Royalties Are Coming Courtesy of the Music Justin Sinkovich, Columbia College Chicago Modernization Act: Lessons from the Early Years of 122 How Marketing Professionals Use and Staff Social SoundExchange Media in Entertainment and Event Venues (abstract only, John L. Simson, American University full article available in the MEIEA Journal https://doi. org/10.25101/19.4) Philip Rothschild, Missouri State University March 23, 2019 123 Staying Relevant: How a Radio Behemoth Has Weathered 99 Mechanical Licensing Before and After the Music the Storms of Change to Survive in the New Media Market Modernization Act (abstract only, full article available in of the 21st Century (abstract only, full article will be the MEIEA Journal https://doi.org/10.25101/19.1) published in the College Music Symposium Serona Elton, University of Miami Kim L. Wangler, Appalachian State University 100 Publishing Photograph That Had “Gone Viral” Ruled 124 Lessons Learned from the Master of Space and Time: Leon Copyright Infringement: Otto v. Hearst Publications, Inc. Russell (abstract only) (abstract only) Andy Gillentine, University of South Carolina Vincent Peppe, Belmont University 125 Now Available on Cassette—Again: Record Retailer 101 New York 5 to 9: Studying the City That Never Sleeps Experiences of Current Cassette Tape Sales Mehmet Dede, The Hartt School, University of Hartford Waleed Rashidi, California State University, Fullerton 107 Engaging Students in the Advancement of a Music 135 Music, Death, and Profits: Variables Contributing to the Economy: A Case Study Surge in Sales After an Artist’s Death (abstract only, Storm Gloor, University of Colorado Denver full article available in the MEIEA Journal https://doi. org/10.25101/19.6) 112 The Development of the Artist-Fan Engagement Stan Renard, The University of Texas at San Antonio Model (abstract only, full article available in the Richard T. Gretz, The University of Texas at San Antonio International Journal of Music Business Research https:// musicbusinessresearch.files.wordpress.com/2018/10/ 137 Sweetwater Sound: The WHY, HOW, and WHAT Behind volume-7-no-2-october-2018_stewart_final.pdf) the Success Sarita M. Stewart, Belmont University Robert Willey, Ball State University 113 Constructing Credibility: How Aggrandizement Helps 153 How the Drop Changed Pop: The Influence of Dubstep in Perform an Identity of Legitimacy and Self-Worth in a Modern Pop Song Form and Production (abstract only) Creative Industry (abstract only) Misty Jones Simpson, Middle Tennessee State University David Schreiber, Belmont University Alison Rieple, University of Westminster 114 What they Post, Where they Post, and When they Post It: A Content Analysis of Social Media Use of the Top 50 Artists in 2018 Ulf Oesterle, Syracuse University 118 Using Movies to Teach Music Business (abstract only) Clyde Philip Rolston, Belmont University 119 America’s First Unprofessional Songwriter: Stephen Foster and the Ritual Economy of Copyright in Early American Music & Entertainment Industry Educators Association Popular Music (abstract only, full article available in the 1900 Belmont Boulevard, Nashville, TN 37212 U.S.A. MEIEA Journal https://doi.org/10.25101/19.2) www.meiea.org, © Copyright 2019 Music & Entertainment Jason Lee Guthrie, Samford University Industry Educators Association, All rights reserved. Proceedings of the 2019 International Summit 3 Local Minimum Content Requirements on Commercial Radio: An Australian Case Study Chrissie Vincent Australian College of the Arts This paper was presented at the 2019 International Summit of the Music & Entertainment Industry Educators Association March 21-23, 2019 https://doi.org/10.25101/18.6 both in Australia and internationally (based in Los Angeles for five years at Virgin Records Worldwide) including the Abstract Rolling Stones, Lenny Kravitz, David Bowie, Sex Pistols, In Australia, commercial radio stations are required to Smashing Pumpkins, Rod Stewart, and Australian artists play a minimum percentage of Australian content, set by and bands such as The Living End, Pete Murray, Don Walk- the Australian Communications and Media Authority. The er, Jeff Lang, Tim Rogers, Tex Perkins—the list is endless. percentage differs depending on the category of station and Over the years, Chrissie has worked in various capacities the style of music played. This paper considers four major including publicity, artist management, TV production, re- commercial radio stations in Melbourne, Australia, focus- cord promotion, radio promotion, and music television @ ing on support within the sector for Australian content. The MTV in Australia and the U.S. In 1999 she took the oppor- research examines if the stations are filling the required lo- tunity to branch out on her own as an independent publi- cal content quota and if they are doing so within peak times cist establishing Chrissie Vincent Publicity & Management. of 6:00